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The tempo of Andrzej Wajda's production was considerably slowed down, thus obtaining an almost elegiac quality; the Krakow "Dybbuck" was constructed like a monument to a dead tradition, devoid of all colloquial and folklore elements, as a kind of challenge of the cliched way the Jewish theme is presented in Polish theatre and drama...

Not accidentally, the performance begins and ends in a graveyard (...) since the play tells us how the dead participate in the lives of the living. But this visual accent can also be read differently: as a symbol of the Jewish tradition, philosophy and religion which returns to us as if from beyond the grave, like a legacy from a murdered nation.

Maciej Karpinski,
"The Theatre of Andrzej Wajda", Warszawa 1991, s.159-160.

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